Catalog of a Collection of Photographs by Gérard Allon in the Judaica Collection of the Harvard library

and has moved to the wider national, political, and social realms. His
queries vis-à-vis being Israeli, Zionist, and Jewish (not in a religious
but rather a mystical context) are not meant to create controversy; that
already exists naturally in the country. He aims instead to raise issues
of identity and belonging to the land and country and of the ethical
values of Israel in the contemporary geopolitical environment. As is
clear from the film itself, Allon asks questions and attempts to answer
them in a dialogue with himself. Yet the answers are not to be found.
This impossible situation makes his daughter, also acting in the film,
ask: “Father, why don’t you answer me.” As with most of his art work,
this film, although contemporary in its conception and the use of new
technologies, still shows influences from Allon’s European and especially
French background. The construction of the movie, with the different
scenes and episodes in it, some recurrent, others virtually
unrelated or contradictory, are reminiscent of the literary style called
nouveau roman advocated in the 1960s by novelist and filmmaker
Alain Robbe-Grillet.
It is virtually impossible to sum up such a long and prolific career in
the arts in one short essay. Looking back, Allon can be rightfully satisfied
with what has happened to him personally, as well as with his involvement
in the artistic life of Israel. The country has enriched him
as a person and as an artist, and at the same time it has received much
from him. However, he himself never asserts the importance of his
achievements or the wide range of his influence. Throughout his career,
Gérard Allon has evinced a personal and artistic modesty. Instead
of imposing himself upon his creations, he reveals and expresses himself
only through the richness, variety, and originality of his creative
strategies. Israel has been blessed with such an outstanding addition to
its artistic family.
Nissan N. Perez
February 2008
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